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Celibidache:The Berlin Recordings 切利比达凯在柏林 1945-1957 By John Quinn At the end of World War II the Romanian conductor, Sergiu Celibidache (1912-1996) enjoyed a meteoric rise to fame. Having studied composition and conducting at the Hochschule für Musik in Berlin from 1936 onwards he was propelled, almost from nowhere, to conduct the Rundfunk-Sinfonieorchester Berlin in 1945. Later that same year, he rose even higher and faster when he was named Chief Conductor of the Berliner Philharmoniker (BPO). 在第二次世界大战结束时，罗马尼亚指挥家塞尔吉乌·切利比达凯(Sergiu Celibidache, 1912-1996，下简称切利)声名鹊起。从1936年起，他在柏林音乐学院(Hochschule für Musik Berlin, 现柏林艺术大学，译者注)学习作曲和指挥，并在1945年从一名无名小卒变成了柏林广播交响乐团(Rundfunk-Sinfonieorchester Berlin)的指挥。同年晚些时候，当他被任命为柏林爱乐(Berliner Philharmoniker)的首席指挥时，他的地位得到了更快、更高的提升。 年轻时期的切利比达凯 Famously, he declined to make any commercial recordings after 1953 though a good number of concert and broadcast recordings made in the later stages of his career have been issued on CD since his death. However, with this hugely important release Audite shines a spotlight on those amazing years when he was so prominent in post-war Berlin. This is a follow-up to their earlier three-disc set of recordings that he made in roughly the same period for the RIAS broadcasting station (Audite 21.406) which I hope to review shortly. 1953年后，他拒绝录制任何商业录音，但在他去世后，大量现场录音和广播录音以CD的形式得以出版。然而，通过出版这套极其重要的唱片，Audite公司将聚光灯打在了切利在战后的柏林展现风采的辉煌年代上。这次所出版的唱片(Audite 21.423, 13CD)是对Audite此前出版的包含了切利同时期在柏林美占区广播电台的录音的一套3CD合集(Audite 21.406)的补充，另外近期我也希望为那套唱片撰写乐评。 左图切利美占区广播录音的唱片 右图本篇乐评点评的唱片 Celibidache held his post with the BPO from 1946 to 1952. In his note accompanying the set of RIAS recordings, mentioned above Peter T. Köster states that the conductor regarded himself ‘merely as Wilhelm Furtwängler’s vice-regent’. When Furtwängler returned to Berlin in 1952 the two conductors shared the orchestra’s podium until 1954 but on Furtwängler’s death that year the orchestra dumped Celibidache in favour of Karajan. 切利于1946年至1952年在柏林爱乐任职。在上述提到的美占区广播录音的唱片小册子内，其作者Peter T. Köster说切利在当时认为自己“只不过是富特文格勒(Wilhelm Furtwängler, 1886-1954)的副摄政而已”。当富特文格勒在1952年回到柏林时，这两位指挥都在共司一职，直到1954年富特文格勒去世，但也是在这一年柏林爱乐抛弃了切利，转而投身于卡拉扬(Herbert von Karajan, 1908-1989)。 By a sad irony Celibidache led the orchestra for the last time on 30 November 1954, the very day on which Furtwängler died. There was just one final BPO appearance; that was in 1992, I think, when he was invited back to conduct the orchestra in Bruckner’s Seventh Symphony. 讽刺的是，切利在富特文格勒去世当天，也就是1954年11月30日，最后一次指挥了这支乐团。在此之后，他仅仅在1992年与柏林爱乐合作过一次，当时他被乐团邀请，客座指挥布鲁克纳的《第七交响曲》(Symphony No. 7 in E major, WAB 107)。 切利1992年与柏林爱乐合作的布鲁克纳《第七交响曲》 In this set we find 45 performances, recorded for radio transmission. The bulk of them - thirty-five - were with the BPO and were given between November 1945 and November 1953. There are nine with the Rundfunk-Sinfonieorchester Berlin, dating from 1945-46, and a single, incomplete one with a third orchestra that took place in 1957. 这套唱片包含了45场为无线电广播电台录制的演出。其中的大多数（35场）是与柏林爱乐合作，录制于1945年11月至1953年11月。9场是与柏林广播交响乐团合作，录制于1945-1946年间。此外还有一场与另一乐团(作者所指为柏林德意志交响乐团，Deutsches Symphonie-Orchester Berlin, 译者注)录制于1957年的不完整的音乐会。通过阅览曲目列表，跃入人们眼帘的是一份非常多样化与激进的节目单。没错，这套唱片包含了海顿、莫扎特、勃拉姆斯和门德尔松的作品，但并没有止步于此。 What leaps out from a reading of the track-listing is the sheer variety and enterprise of the repertoire. True, there are works by Haydn, Mozart, Brahms and Mendelssohn in here but look what else there is. The Tchaikovsky symphony is one of his less familiar symphonies; there are then-recent pieces by American composers - Copland, Diamond, Piston and Barber, all in one programme; Carlos Chavez is represented; so too are Milhaud, Roussel, Cui and Glazunov. These are pretty adventurous repertoire choices. 唱片内包含的柴可夫斯基的交响曲是他的三首并不怎么出名的交响曲之一；也有近代美国作曲家的一些作品：科普兰(Aaron Copland, 1900-1990)，戴蒙德(David Diamond, 1915-2005)，辟斯顿(Walter Piston, 1894-1976)和巴伯(Samuel Barber, 1910-1981)的作品被安排在同一场音乐会中；收录了查维斯(Carlos Chávez, 1899-1976, 墨西哥著名作曲家，译者注)的作品；还包括了米约(Darius Milhaud, 1892-1974)、鲁塞尔(Albert Roussel, 1869-1937)、居伊(César Cui, 1835-1918)和格拉祖诺夫(Alexander Glazunov, 1865-1936)的作品。这（在当时）都是一些十分大胆的曲目选择。 CD 1 —The first— Disc 1, however, contains standard fare. The Mendelssohn symphony comes from his last significant sessions with the BPO and it’s a pleasing reading in good recorded sound. The first movement is light and athletic; the second movement, taken quite steadily, benefits from smooth lines while the third movement is relaxed and elegant; by contrast, the finale is very fast and driven. The playing in the Mendelssohn overture is not as cultivated and the sound is rather thin and treble-biased: bear in mind, however, that this is a much earlier recording and not with the BPO. In the Mozart concerto Lilia d’Albore (1914- ?) is a good soloist. The first movement is spirited, the second elegant and well-shaped, while the finale is graceful. 本套唱片的第一张唱片收录的是一些经典曲目。这首门德尔松的交响曲录制于切利与柏林爱乐的最后一次重要合作，不失为一个令人满意的版本，录音效果也甚佳。第一乐章演奏的轻快活泼；第二乐章节奏平缓且线条流畅；第三乐章轻松优雅；相比之下，末乐章的速度很快，充满着动力。门德尔松的序曲就并没有前一首曲子那般出色了，而且录音效果也比较单薄，高音区较为突出：需要知道的是，这是一个更早期的录音，而且乐团也并不是柏林爱乐。莫扎特协奏曲的独奏者Lilia d’Albore (1911-1988, 意大利著名女性小提琴家，原文生卒日期错误，译者注)水平很高，第一乐章使人感到生机盎然，第二乐章规范而高雅，末乐章则优美动人。 Lilia d’Albore CD 2 —The Second— Disc 2 also contains central repertoire. The Chopin concerto features the Polish pianist, Raoul Koczalski (1885-1948). He’s not flattered by the clangy tone of the piano, as recorded, but he displays a light touch. Koczalski plays fluently and though the piano is placed rather forwardly in the sound picture, somewhat masking the orchestra, the accompaniment seems good. In the slow movement Koczalski’s playing has poetry and no little feeling. Both the Berlioz overtures are done well. The Bizet symphony benefits from the best recording on this disc. Celibidache and the BPO do it well, giving a most enjoyable reading of Bizet’s zestful symphony. 第二张唱片依旧收录了一些核心曲目。肖邦协奏曲的独奏者是著名波兰钢琴家科瓦斯基(Raoul Koczalski , 1884-1948, 肖邦的再传弟子，原文生卒日期有误，译者注)。在录音中，他并没有过于注重表现钢琴铿锵的音色，反而弹的十分轻盈。科瓦斯基的演奏非常流畅，尽管钢琴在声音上被人为的前置，有点掩盖了乐团的声音，但实际聆听起来问题并不大。在慢乐章中，科瓦斯基的演奏诗意满满，感人至深。两首柏辽兹的序曲都完成的十分出色。比才的交响曲是这张唱片录音质量最佳的曲目。切利和柏林爱乐的演绎非常精彩，这是比才这首热情洋溢的交响曲最令人身心愉悦的版本。
科瓦斯基 CD 3 —The Third—
Disc 3 includes the Brahms Fourth Symphony in an impressive reading. There’s strength and purpose in the first movement though the music is allowed to relax where appropriate. The second movement is taken pretty slowly and is expressively moulded. Celibidache is by no means the only conductor who has taken this movement at a broad tempo but here we get, perhaps, a glimpse of the expansive Celibidache of later years. The finale is paced quite deliberately, the music strongly projected. The slow variations in the middle of the movement are taken very broadly but when the music picks up speed once again the reading is very fiery, especially as the end approaches. 第三张唱片收录的勃拉姆斯《第四交响曲》(Symphony No. 4 in E Minor, Op. 98)是一个令人印象深刻的版本。尽管在一些适当的地方，音乐可以变得放松，但第一乐章中的力量与目的性都被很好的展现了出来。第二乐章被处理的较慢，且富有表现力。他并不是唯一一位用如此宽广的速度处理这个乐章的指挥家，但是在这里，人们或许可以看到一丝那个在晚年时期以对速度进行极端扩张处理而知名的切利的影子。末乐章的节奏处理相当谨慎，音乐本身被强有力的表达出来。乐章中间的慢速变奏曲被处理的甚是宽大，但当音乐恢复原速之时，尤其是在接近尾声的时候，切利的处理又变得火热了起来。
该专辑背面曲目信息 The performance of Till Eulenspiegel was recorded live. It’s vividly characterised though the recording struggles to accommodate the climaxes. The disc is completed by another live performance, this time of some orchestrated Wolf songs which are sung by the contralto, Margarete Klose (1899-1968), who was then a soloist at the Berlin State Opera. She has a large, full voice. I liked particularly her dedicated performance of ‘Gebet’ and her account of ‘Anakreons Grab’ is also very expressive. 《梯尔的恶作剧》(Till Eulenspiegels lustige Streiche, Op. 28)是音乐会现场录音。尽管录音的质量在各高潮部分并不如何尽如人意，整首曲子的特点还是被生动的表达了出来。这张唱片还收录了另外一份现场录音，包括一些由管弦乐伴奏的沃尔夫(Hugo Wolf, 1860-1903)的艺术歌曲，由当时供职于柏林国立歌剧院的女低音歌唱家Margarete Klose (1899-1968)演唱。她的声音洪亮而饱满。我尤其喜欢她演唱的《祈祷》(Gebet)，她所演唱的《安纳克里昂的坟墓》(Anakreons Grab)也同样富于感情。 
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